Quantum Objects – Frederik de Wilde

Frederik de Wilde renders intangible, inaudible and invisible phenomena into sculptural forms and polished 3-dimensional data visualisations. Data derived from quantum processes, complex systems, aspects of psychophysics, nanotechnological and biological systems provide base materials for the works and allow Frederik to ask ‘how do we connect the blind spots, respectively, between art and science?

Quantum Object #1 – Frederik de Wilde

In works such as Quantum Object, Quantum Foam and SoN01R, sculptural order and geometric exactitude provides counterpoint and playful contradiction to the preconceived idea of noise, randomness and entropy. While society streamlines to greater technological order, where perceived accuracy is prized and the errors of randomness are to be avoided, actual true randomness has become a precious commodity. Ironically no computational device can generate true random numbers – we have to rely on natural phenomena such as atmospheric data or stochastic radioactive particle decay for their generation.

Coalface – Frederik de Wilde

Coalface – Frederik de Wilde

Coalface – Frederik de Wilde

Eschewing the purely aesthetic, Frederik’s works raise questions regarding the dissemination of art works in the scientific continuum, they explore the artistic and scientific contract and its related social and political implications. Conjectural solutions to social problems and political questions are embedded in his artistic output. A good example of the latter concern is M1NE#1, a sculpture made by direct laser sintering of microscopic titanium particles which visualises sensitive data of seven coal mines in Belgium.

Fade 2 Infinity – Frederik de Wilde

M1ne IIII – Frederik de Wilde

A recent interview at We Make Money Not Art is the perfect port of introduction to Frederik’s works and ideas. It contains interesting historical anecdotes and references to quantum material innovations alongside dystopian predictions – proving that the ideas of Richard Feynman are as equally crucial to Frederik’s works as references, as are Malevich’s paintings.